Description
Playing with Patterns on the Lute is a practical guide for all lutenists who want to learn how to ornament their music with sixteenth-century divisions. Written for the Renaissance lute in G, it includes examples and exercises in French tablature, which is familiar to players around the world. While methods for wind and stringed instruments by writers such as Diego Ortiz, Riccardo Rognioni, and Giovanni Bassano exist, there are no surviving methods from the sixteenth century for learning these skills specifically on the lute. There are, however, a wealth of examples in thousands of European lute tablatures. Through an analysis of the divisions used by sixteenth-century lutenists in these tablature sources, internationally renowned lutenist and teacher Nigel North sets forth a method for the modern lutenist and explains, with multiple examples, how renaissance lutenists approached their division making. Focusing on patterns from eleven tablature case studies from lutenist composers, including Hans Newsidler, Alonso Mudarra, Luis de Narvaez, Francesco da Milano, Vincenzo Galilei, Giovanni Terzi, Adrian Le Roy, John Johnson, and John Dowland, North presents more than one hundred examples and exercises from their music.
Table of Contents
AcknowledgementsPart 1: Fundamentals of DivisionsCh.1 Introduction 1.1 Ornamentation types: Divisions and Graces 1.2 In search of a method for lutenists 1.3 The function of divisions 1.4 Guidelines, terms and abbreviations usedCh.2 Graces 2.1 Sixteenth-century Graces for the lute 2.2 The Capirola Lutebook, c.1517 2.3 Pietro Paulo Borrono (1548) 2.4 The most common sixteenth-century graces explainedCh.3 General Rules 3.1 Two Modes 3.2 Lute Rules for divisionsCh. 4 Twelve Types of Divisions 4.1 Cadential 4.2 Triad 4.3 Static 4.4 Interval 4.5 Doubler 4.6 Filler 4.7 Lead-in 4.8 Connector 4.9 Tirata 4.10 Contrapunto & bastarda style 4.11 Broken chords 4.12 RecomposedPart 2: Tablature Case StudiesCh.5 Tablature Case Studies: Introduction 5.1 Introduction 5.2 Annotations 5.3 AbbreviationsCh.6 Nach Willen Dein Paul Hofhaimer (1459-1537)Three versions by Hans Newsidler (1536 and 1544) Ch.7 Je Prens en grè Clemens non papa (c.1510-c.1555)as set by Mattheus Waisell (1573)Ch.8 Mille regretz attributed to Josquin des Prez (c.1450-1521)As set by Luis Narvaez (1538)Ch.9 Greensleeves AnonA treble and ground duet Ch.10 Passemeze (Passamezzo Antico) Adrian Le Roy A Briefe and easye instruction, London (1568)Ch.11 Fantasia a dui liuti (Francesco da Milano)Castelfranco ms. ExtractCh.12 Contrapunto Primo B(ernardo) M(onzino) Fronimo Dialogo, Vincenzo Galilei, Venice, 1584Ch.13 The Queens Treble John Johnson (c.1545-1594)A treble and ground duetCh.14: Sir John Smith, his Almain John DowlandA Varietie of Lute-Lessons, London (1610)Ch.15 Ricercata per Viola Bastarda, e Lauto Aurelio Virgiliano, Il Dolcimelo (c.1600-1620), Libro SecondoCh.16 Chanson: Susanne un jour LassusA contrapunto Lute Duet in Bastarda style by Giovanni Terzi, (1593)Part 3: MethodCh.17 Cadences 17.1 Cadence type 1 17.2 Cadence type 2 17.3 Cadence type 3Ch.18 Triads 18.1 Simple 18.2 Extended 18.3 Octave extensions 18.4 Harmonic Triad 18.5 Frere Jacques 18.6 Triad divisions (Simple): Exercises 18.7 Triad divisions (Extended): Exercises 18.8 Triad divisions (Octave Extended): Exercises 18.9 Triad divisions (Harmonic): ExercisesCh.19 Static 19.1 Static divisions: Exercises (1) 19.2 Static divisions: Exercises (2)Ch.20 Intervals: 20.1 Simple interval divisions 20.2 Compound interval divisions 20.3 Scales & Octaves: Exercises 20.4 Ascending and descending 2nds 20.5 Ascending and descending 3rds 20.6 Ascending and descending 4ths 20.7 Ascending and descending 5ths 20.8 Ascending and descending 6thsCh.21 Guided lessons in building patterns 21.1 Lesson 1 on the ground from The Queen's Treble 21.2 Lesson 2 on the Passamezzo Antico 21.3 Lesson 3: Adding divisions to a solo pieceCh.22 Practice piece # 1: Twinkle, twinkleCh.23 Practice piece # 2: Arbeau Pavane: Belle qui tiens ma vieCh.24 Ground # 1: La Gamba (Cara Cosa)Ch.25 Ground # 2: Passamezzo Antico 25.1 As a treble and ground duet 25.2 Solo luteCh.26 Ground #3: Passamezzo ModernoCh.27 Ground #4: Romanesca Ch.28 Madrigal: Anchor che col partire (de Rore) 28.1 Original Madrigal a 4 (SATB) 28.2 Cantus (to practice divisions) with an intabulation of ATB. 28.3 Example: A new contrapunto/bastarda style, with an intabulation based on Paladino's intabulation (1560) 28.4 SATB Intabulation (as above) with a spare stave for improvising or composing your own contrapuntoAppendix 1: Ornamentation treatises 1535-1620 (for voice, wind and string instruments)Appendix 2: The original parts for Lute 1 and Lute 2. G.A. Terzi (1593) Index
-
- 洋書電子書籍
- Bellini
